After four minutes of standard but white hot "Weekapaug" jamming, Page and Trey drop into a sparser section with "Alumni Blues"-like riffing, before bringing back the main "Groove" and finishing on a high note.

After very few performances from Summer '92 - July '93, this "Gin" blows open the doors to serious improvisation, including tempo shifts, a "Sleeping Monkey"-like jam, then some great free-form jamming. -> to "Makisupa."

Excellent variation in the playing, including a nice quiet section, dissonance, pounding, and an amusing section with the band members all yelling "Yee Haw!!" No real ending but instead a > to "Sanity."

A typically fiery, intense '94 1st jam breaks into great rhythmic, medium intensity playing, which mellows into some super melodic Trey-led jamming with hints of "MLB." Collapsing to drums, the jamming returns to "Mike's" proper to conclude.

> in from "Wilson." Cool little jam on "The Lion Sleeps Tonight" in intro. Some "DDJ"-like musing, an unusually quiet but probing early section, and then a gnarly, dissonant build, all making this final April '94 performance another strong one.

A lilting, musical intro features melodic Trey and "The Lion Sleeps Tonight" teasing, a fun theme throughout this show. A loose, easy vibe dominates the composed section. Page's fast clip solo, which sparkles, is anchored by great Mike and colored by thoughtful and deliberate work from Trey. A fiery conclusion > to an excellent "Possum."

Several teases in the jam (see Setlist), but they fit in really well, as if part of the jam, not funny little add ons. Then the jam takes off in typically blistering '94 style. Fish rocks this one hard, and the others are no slouches either.

The first seriously "Type II" "Hood" includes some very experimental jamming. Parts of this exploration are mildly dissonant and very un-"Hood"-like, while other sections are quite spectacular. The "Type I" ending is first rate.

This "Hood" from A Live One seems to peak, then breaks at 11:25 into a section combining '94 space, moderate dissonance, and loads of tension. When this oblique resolves back to normal "Hood" at 13:30, it's pure '94 bliss.

An interesting and somewhat atypical 1995 "Reba." Really terrific playing from Mike and Fish informs a jam that, while not quite ambient, seems more aimless than recent versions. This, however, functions to make the conclusion that much more powerful, as the band, pushed by Trey, coalesces to play with great power before arriving at the "note."

Just solid all around. Trey leads brilliantly, Page jumps to the 88s earlier than usual, and the rhythm guys punctuate the dynamic with an exclamation point. Great sounding Aud, or Aud/SBD matrix on the spreadsheet.

Fantastic version and one of the most improvisational ever. Includes a Simpson's signal, a "Dixie" tease, Trey scatting, a "Woody The Woodpecker Theme" tease, a "Johnny B. Goode" tease, AND a wild and exploratory jam.

"Stash" -> "Manteca" -> "Stash" -> "Dog Faced Boy" -> "Stash". Many would rank this combination among the Top 10 Phish jams ever, and with good reason. This magnum opus is a stunning, thrilling masterpiece.

-> in from "Dog Faced Boy." A blistering cacophony follows "DFB," before this monumental "Stash" arrives home on familiar, but unsettling ground. This entire "Stash" sequence is absolutely MUST-HEAR for any serious fan.

A multi-section "Mike's" begins with a rocking, somewhat dissonant opening section. In the 2nd part, Trey nicely decides to stay on guitar, and the jamming here is both intense and rocking, but also melodic. Finally around 14:00, the jam settles into a quieter, spacey section, but as Trey adds Leslie-infused touches, things end on a hopeful and upbeat vibe.

With Karl Perazzo on percussion. The 2nd jam lives up to its accolades, but honestly, the 1st jam, even with Perazzo's strong presence is a bit plodding. But that 2nd jam, wow! It's literally a synthesis of Phish styles past, present and future. Combining '95-style arena rock with '96 percussion/keyboards and '97 funk, the building hose-filled jam including "MLB"-like moments is 100% Grade A Phish.

"Immigrant Song" teasing early on sets the tone for this dark, angry wall of sound. A single jam segment, but it's heavy duty stuff, filled with spacey effects and a driving, seemingly accelerating Mike and Fish-led groove.

In the final 5 minutes, the band breaks into an upbeat, high quality groove. But this payoff seems unbalanced given the 25 minutes of repetitive, intense "Type I" jamming and dull, droning groove-based action that precede it.

This is one of the center-piece jams of one of Phish's most storied and highly-lauded sets. This one quickly hits a slow groovier jam. With a good foundation set by Gordon and Fishman, Trey and Page have ample room to explore several gorgeous and melodic passages.

The masterpiece of the '99-'00 style "Sands" from the early morning at Big Cypress. A dark groove develops with all sorts of eerie effects added to the mix. Trey's lead work is scintillating and gives the jam an ominous feeling until it segues into the blissful "Quadrophonic Toppling". A must-hear jam from the band's ambient era. "My Soul" tease from Mike.

-> in from Suzy Greenberg. A jarring, near heavy metal-like "Jam" breaks out after the second verse of "Suzy." Gnarly and raw, it eventually mellows into space before transitioning to "Theme From The Bottom."

Start-stop jamming before Trey takes the lead in a rocking jam. Eventually veers into an eerie "type 2" jam and segues into "L.A. Woman." This version is unfinished and was completed at the following show.

Following an "Auld Lang Syne" tease, the breakdown section begins at about 4:00 and is percussive and rocking, with "Jungle Boogie" vocal quotes from Trey as well as teases. The return to "Weekapaug" is intense, mildly dissonant, and includes a "Divided Sky" tease.

Excellent and very improvisational version that gets far, far removed from "Stash" before finally coming home. Multiple sections, including quiet rhythmic stuff, effects-laden space, and some great upbeat jamming.

Subsonic (wow Gordo!) quantum-tunneling rock drill with an "Auld Lang Syne" jam that finds its way to the dentists office. [Great Mike early-on gradually builds to a nice peak. Then the jam shifts to a solid, snappy section replete with an "Auld Lang Syne" tease and more, and -> to "NO2."]

This excellent version focuses less on samples and vocal manipulation, while integrating a more nuanced sense of dynamics. At around 6:00, the band creates a brooding psychedelic mood, which culminates with guitar loops sounding triumphantly over the bass bomb-enriched, final chord repetition. Once again, "Martian Monster" closes out a highly regarded, hose-heavy set.

Similar to 8/6/10 and many of the '00 versions, in which the jam is really more about a groove than it is Trey rehashing the basic "Mike's" jam melody for the 400 and umpteenth time. Both Mike and Fish play with ferocious intensity in this solid version.

The band makes a breathtaking, powerful statement with this improvisational and multi-section juggernaut. The now common 3.0 "Hose" style is enhanced by a swinging vibe and serious power rocking, bookended by great percussive funk.

After rolling through solid in-bounds territory, the jam fractures into several sections, including "Woo"-like stop/start play, some nice upbeat playing with a swinging vibe, and a return to more rocking action with "C&P" vocal quotes, before settling to percussive transition space.

Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.

Donate to Mockingbird

Contact Us

The Mockingbird Foundation

The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.

And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed over $1,000,000 to support music education for children – hundreds of grants in all 50 states, with more on the way.